Archived posting to the Leica Users Group, 2013/07/03
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Herbert - This might help: http://www.alamy.com/contributor/help/sell-images.asp I've been leasing stock since 1980. The stock market slumped considerably after RF and Micro-stock started taking over the market, but things have improved quite a bit lately with some really good prices. My average is back up to about where it was 10 years ago, thank goodness. I know people with Alamy who make over $25,000 a month, but they have many more photos up than I do. Hope this helps. Tina On Wed, Jul 3, 2013 at 2:12 PM, Herbert Kanner <kanner at acm.org> wrote: > I would like some enlightenment on how stock photography works. I had been > under the impression that it is no longer a viable source of income because > of the existence of a population equipped with cameras on their phones. > Then, I read Tina's piece about income from stock photography, including > mention of a student of her's who quit a job because of stock photography > income; this appeared to be a current event. Also, as a docent at the > Computer History Museum, I met a school teacher who told me that a > substantial part of his income was stock photography. > > So, if any of you has the patience to explain to me a bit about how it > works, or to refer me to a web site that would explain, I'd appreciate it. > > Thanks, > > Herb > > Herbert Kanner > kanner at acm.org > 650-326-8204 > > Question authority and the authorities will question you. > > > > > On Jul 3, 2013, at 10:50 AM, George Lottermoser <imagist3 at mac.com> > wrote: > > > > > On Jul 3, 2013, at 12:20 PM, lrzeitlin at aol.com wrote: > > > >> For every artist who is exhibited, I know 10 equally talented artists > who never found an outlet. Look at the LUG. The Gallery is replete with > excellent photographs, most taken by "non-professionals" whose pictures > will be seen only by close friends and on the web. Ted, Tina, and some few > others have managed to break the barrier but there are plenty of other > LUGGERS whose work is equally as good. > >> > >> > >> In my day if you wanted to get paid for taking pictures, you did one of > two things. You worked for a media outlet, newspaper or magazine, or you > tried to establish an independent freelance or "professional" business. > While some "professionals" managed to live quite nicely, most barely > scraped by or failed completely. I bought most of my cameras from failed > professionals. Sometimes "security" is better than starving. > > > > Larry, > > > > We seem to be talking past one another a bit; not unusual as we've had > different experiences. > > > > I began my visual art career at 14, in 1960, as an assistant in a > successful commercial studio. > > The studio catered to Advertising Agency and Corporate Clients. > > Between 1967 and 1972 or 3 I earned my living, and my way through college > > as a free lance photo journalist, and graphic designer, selling to local > newspapers and magazines. > > > > Since 1973 and through the late 90s I managed to earn fairly well doing > a combination of; > > editorial photography, corporate photography and graphic design, gallery > shows and print sales. > > > > Each of those markets has had its ups and downs over the years and > decades. > > > > In every case protection of the right to use and license the work > remained important; > > not only to me but to all of my peers working in photography, > illustration and graphic design. > > At the height of my career I was a member of both ASMP and the Graphic > Artists Guild. > > Both organizations have worked tirelessly at protecting and valuing > creative work. > > > > My first wife, of 25 years, also made a good living as a fine art > painter. > > I have many friends who are professional artists, photographers, > painters, sculptors, metal workers, and musicians. > > I know how the art markets have worked historically as well as currently. > > > > Tina's career or mine or many others do not fit the model that you seem > feel is the only rigid view of how things worked > > "in your day" "my day" or "to day." > > > > We could discuss any creative market in terms of blue chip international > "history book" success, > > regional success and/or local success; > > as well as several other parameters and paradigms. > > > > Regards, > > George Lottermoser > > george at imagist.com > > http://www.imagist.com > > http://www.imagist.com/blog > > http://www.linkedin.com/in/imagist > > > > > > > > > > > > > > _______________________________________________ > > Leica Users Group. > > See http://leica-users.org/mailman/listinfo/lug for more information > > > _______________________________________________ > Leica Users Group. > See http://leica-users.org/mailman/listinfo/lug for more information > > -- Tina Manley http://tina-manley.artistwebsites.com